. . . The richly musical and searching interpretation on show here is in a league of its own; we are inexorably persuaded that the stark isolation of Poppea at the end makes perfect worldly sense. Emmanuelle Haïm controls everything from the keyboard with brilliant finesse, underscoring crucial words and events with constant harmonic care . . . Danielle de Niese looks stunning in the title role, an marches the action with musical flexibility . . . The other singers are all good (Dominique Visse is terrific as the Nurse), and the presentation and sound are clear and effective.

. . . a terrific production that is, without question, highly recommended.

Record Review /
Steven Ritter,
Audiophile Audition / 28. October 2009

The cast is effective . . . The three principles of the prologue, Virtue, Fortune, and Love, act convincingly . . . Davies is a strong Ottone, demonstrating yet again that a good countertenor certainly is capable of giving voice to the emotions of the opera's music and text . . . Tamara Mumford displays the greatest vocal energy and focus of the evening, with a brightly ringing tone and seemingly effortless production. Coote creates a thoroughly believable monster of selfishness for an emperor, with dramatic insight matched by a disciplined tone . . . [De Niese] sings and acts credibly. Paolo Battaglia's Seneca is more of a basso profundo than a basso, to judge by his ease with the lowest notes of his role, with good command of cantabile -- and acts competently, too. Both Visse and Ablinger-Sperrhacke perform their travesti roles as the nurses superbly . . .

. . . ably conducted by Emmanuelle Haim, features the radiant singing of Danielle de Niese, whose portrayal of Poppea is one infused with ambition, pathos, and a seemingly joyous ending that gives a brief last-second glance to ultimate tragedy as Poppea foresees her fate even as she marches off to her wedding.